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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by NorBro View Post
    Already predicting the backlash coming for using some shallow camera for the coin toss that went hunting for focus at the end of the toss as the players ran back to their benches, ha.
    Quote Originally Posted by Bassman2003 View Post
    I just don't understand why they are keeping the aperture so wide open? Just close it down a bit and the look will fit right in. The super shallow aesthetic is distracting. I think they are trying to go for the video game look in the end.
    At least the subject is in-focus in video games. They can't achieve focus except maybe 20-25% of the time and then can't maintain it for more than a moment or two IF they get it.

    Gronk's first TD, he was never in focus.


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    Strange choices at times from the high end. Kind of reminds me of the earlier days of LED lighting on battery and post game interviews where they clearly had a 5600k light in a lower Kelvin environment. The players had blue skin and I am thinking - I always try to match the light color and I am a two bit loser...


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    Senior Member Run&Gun's Avatar
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    It’s just amazing that it made it all the way to the Super Bowl. They seemed to just keep doubling down WITHOUT improving.

    As much as I think the super shallow DoF look doesn’t fit in in the live broadcast, it would be one think if the shots were actually in focus, but how do you prioritize the SSDoF over having the shot in focus? Who give a flying f u c k about shooting WAO with a “FF” sensor for SSDoF to give you the look of a video game or to make it “cinematic” if nothing is ever in focus? Hell, you can take a 2/3” broadcast camera and engage the macro to throw the back focus out and make it look just like that: Nothing In Focus.

    I mean at some point someone has got to step in and say if they want to continue with that look, that they have to figure out how to achieve proper and continuous focus. Because it’s not like the people doing this aren’t some of the best in the field, they’re just being given an almost impossible task with current practices and technology.


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    And they even switched to it during a play, though they quickly came out of it.

    As to who-runs-what these days - the sideline judge blew a tipped ball interception call late in the game and, despite it occurring in the last five minutes, the NFL did not stop the game for a replay. Obviously, aside of making Mahomie's stats look even worse than his 52 QB rating, it no longer mattered. But Nance and Romo just skipped over it, even though their own cameras showed it quite clearly.

    PS. And KC's offensive side of the ball was completely outcoached ... by themselves. Backup tackles vs. Tampa's pass rush = business as usual. Un, no.


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    Senior Member Eric Coughlin's Avatar
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    Quote Originally Posted by Run&Gun View Post
    Because it’s not like the people doing this aren’t some of the best in the field, they’re just being given an almost impossible task with current practices and technology.
    I do wonder, though, are they the best in their field? I could just imagine the broadcast sports pulling from their range of typical broadcast camera crew to be the 1st ACs pulling focus as opposed to hiring top of the line 1st ACs focus pullers out of Hollywood.


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    The broadcast world is a funny one. I dipped my toe into the higher end stuff when I was a Steadicam operator for hire and was often thrown by how dialed in it was on many levels but completely missing the mark on others, to my sensibilities. As was mentioned by Bassman earlier, the bad choice of color balance (like a 3200K sungun used in daylight) was everywhere. When I was working on the Atlanta Olympics, the diving competitors walked under a terribly green sodium lamp underneath the diving platform and after seeing it happen enough where it really bothered me I went to talk to the team in the truck about it. No-one had noticed and nobody cared. I offered to gel it myself and went through a stack of scraps in one of the trucks but couldn't find any minus green (as if that was surprising).

    I haven't seen the shallow thing you guys are referring to but it does not surprise me that they aren't bringing in legit focus pullers with tools like the Light Ranger to tackle this. Not their style, not their world.
    Charles Papert
    charlespapert.com


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    Only thing that bothers me about it is that if they are still using the old Sony a7RIV (and cutting to it on TV), they should at least use and replace it with one of the newer Sony cameras with newer AF.

    Dial down the speed/sensitivity a little and there would be less of an issue.

    It's hard for me to believe that there isn't at least one nerd, forum guy/gal out of the 50-100-200 people in the crew that knows the history of these cameras and can get the word back to the decision-makers that there is a better Sony they could use, but maybe there really isn't because most people don't get tied up with such extreme details besides the small number of camera nerds that really know and follow the equipment.


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    Quote Originally Posted by CharlesPapert View Post
    ... I haven't seen the shallow thing you guys are referring to but it does not surprise me that they aren't bringing in legit focus pullers with tools like the Light Ranger to tackle this. Not their style, not their world.
    They had Sony A7R series cameras on what looked like a fig rig (or Fig rig). The cameras were probably in an "area" AF mode because the "eye" would have been even worse. Cameras were not hunting per se; they were just in a state of constantly changing framing. Someone scores - he's in focus. His teammates jump on top of him - no one is in focus. The camera quickly recalibrates itself. Someone comes in focus again. Then someone else jumps in again and the focus is gone again. They probably could have gone with an APS-C Sony (6600 has a very good AF too) and an 50mm prime at F11 and then let the rest fall where it may. But they were totally into the "Top Secret" telephone scene look.

    Quote Originally Posted by NorBro View Post
    Only thing that bothers me about it is that if they are still using the old Sony a7RIV (and cutting to it on TV), they should at least use and replace it with one of the newer Sony cameras with newer AF...
    SAR found a link purporting they did have an A1 there. 7RIV always seemed like a poor choice for action but it does have a lot of AF points (567 phase-detection and 425 contrast), on top of the fastest chips and, unlike A7SIII, can be streamed in 1080.

    I find the look odd but some may find it artistic.


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    Great conversation. The NFL has the entire off season to figure it out. Next year it will be an 8k 50-yard line cam with an f1.4 wide angle lens that they can pan and zoom around to their hearts content to create the 720p broadcast signal!

    Another lesson to us all - most people don't care!!! Use what you got to the best of its abilities and upgrade for sound reasons. (A nod to Dan and G.A.S.)
    Last edited by Bassman2003; 02-08-2021 at 09:08 AM.


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    Senior Member Run&Gun's Avatar
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    Quote Originally Posted by Eric Coughlin View Post
    I do wonder, though, are they the best in their field? I could just imagine the broadcast sports pulling from their range of typical broadcast camera crew to be the 1st ACs pulling focus as opposed to hiring top of the line 1st ACs focus pullers out of Hollywood.
    I’m talking about the cam ops. Those were the top guys shooting last night. Despite some of the strange decisions that are made and we talk about on an Internet forum, it’s not local cable access that rolled into town and put an ad on Craigslist for cam-ops. Some of those guys have literally been doing it for as long as or almost as long as some of us have been alive. And there’s a reason. Because they are the best.


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